oliver

I am in search of a soft synth for Mac OS X that takes input from msp that is not pete yandell's simpleSynth; but similar. simpleSynth crashes occasionally and has no way to save instrument sets.

soft-synth

Csound~ is fun. There are opcodes in csound for using soundfonts.

Csound~ is rock steady. I use it in performance with out any problems.

Csound~ is fun. There are opcodes in csound for using soundfonts.
Csound~ is rock steady. I use it in performance with out any problems.

I have a midi file that has changing time signatures, but a consistent 

bpm. how do I send detonate the bpm info so it will play the midi file 

in time? it seems like that info isn't stored with the midi file 

because it's playing the sequence too fast.

I have a midi file that has changing time signatures, but a consistent 
bpm. how do I send detonate the bpm info so it will play the midi file 
in time?  it seems like that info isn't stored with the midi file 
because it's playing the sequence too fast.

fluidsynth~ works great. The sound track for our new film progeny was made

fluidsynth~ works great.  The sound track for our new film progeny was made
with it.  The film on my web page.
Cheers,
Gary Lee Nelson
TIMARA Department
Oberlin College
www.timara.oberlin.edu/GaryLeeNelson


>I am in search of a soft synth for Mac OS X...

With the object fluidsynth~ (Peter Hanappe, Norbert Schnell, Roland Cahen)

I have built a standalone (MacOSX) application:

http://perso.orange.fr/Paresys/ARGO/AppFluidsynth.html

and a collective "ARGO FluidSynth v7 OSX", a module of my modular synthesizer "ARGO"

http://perso.orange.fr/Paresys/ARGO/Ex72.html

With the object fluidsynth~ (Peter Hanappe, Norbert Schnell, Roland Cahen)
I have built a standalone (MacOSX) application:
http://perso.orange.fr/Paresys/ARGO/AppFluidsynth.html

and a collective "ARGO FluidSynth v7 OSX", a module of my modular synthesizer "ARGO"
http://perso.orange.fr/Paresys/ARGO/Ex72.html

thanks for the advice, i have just decided on using the "qtmusic" object, it is not the best, but it is exactly what i need for now. thanks.

Yes but "Bach is dead", and Xenakis half reBorn...

can be interesting to use that qtmusic , but, pitched, de=tempered, 

as wave synthetiseur can replay any frequency, at any speed, not only 

some body now how to make glissandi with that virtual-midi-qt synth?

Need to re-inject ABCDEFG midi note into msp to generate a continuum 

It's to keep every body ignorant about Xenakis work, that midi scale 

(see l'"UPIC" for eg, or try to dive in "theorie des cribles" 

It seem's so mutch people there have big respect for automatised 

Sumum of stupidity(commercialAndPerformative) is to generate tempered 

Your problem is to respect comon sens, what artist don't because they 

Yes but "Bach is dead", and Xenakis half reBorn...
can be interesting to use that qtmusic , but, pitched, de=tempered, 
as wave synthetiseur can replay any frequency, at any speed, not only 
tempered .
some body now how to make glissandi with that virtual-midi-qt synth?
Need to re-inject ABCDEFG midi note into msp to generate a continuum 
of frequency?
Or, I mised some steps?
It's to keep every body ignorant about Xenakis work, that midi scale 
take place?
(see l'"UPIC" for eg, or try to dive in "theorie des cribles" 
(Peano/Xenakis 1955)
It seem's so mutch people there have big respect for automatised 
tempered musik>
Sumum of stupidity(commercialAndPerformative) is to generate tempered 
musik from cellular automaton...
Your problem is to respect comon sens, what artist don't because they 
can carry to show crasy...
pBaes
dizidentPatafizikLab


I'm not musician at hall, but, I feel to mutch pollution and 

desinformation from tempered automatised musik.

if ftom and qtInstrument can understand float, and not only integer, 

like mtof, then midi get like :12 "midiUnit" = 1200 cents, then, can 

play a little with "theory of crible" concept...

need "Jack" to re-inject and pitch internal synth qt library?

PS: I have nothing to sell, and I don't care to who you, juste I want 

progress in my personal understanding, but I want the world 

collective understanding progress with me (Doxa, common sens, etc.) 

than make people more stupid and more exploited, (even more 

specialized but ignorant about other's knowledge...)

I'm not musician at hall, but, I feel to mutch pollution and 
desinformation from tempered automatised musik.
if ftom and qtInstrument can understand float, and not only integer, 
like mtof, then midi get like :12 "midiUnit" = 1200 cents, then, can 
play a little with "theory of crible" concept...
need "Jack" to re-inject and pitch internal synth qt library?
Or i missed something?
pBaes
ditzidentPatafizikLab
www.laPoseLongue.org

PS: I have nothing to sell, and I don't care to who you, juste I want 
progress in my personal understanding, but I want the world 
collective understanding progress with me (Doxa, common sens, etc.) 
than make people more stupid and more exploited, (even more 
specialized but ignorant about other's knowledge...)


http://perso.orange.fr/Paresys/ARGO/Ex59.html

http://perso.orange.fr/Paresys/ARGO/Ex61.html

listen that:
http://perso.orange.fr/Paresys/ARGO/Ex59.html
and with "qtmusic":
http://perso.orange.fr/Paresys/ARGO/Ex61.html

Maybe the MIDI pitch bend messages is what you're looking for. See Max' 

[bendin], [bendout] and [xbendin] [xbendout] objects.

Centre de Recherches et de Formation Musicales de Wallonie asbl

Maybe the MIDI pitch bend messages is what you're looking for. See Max' 
[bendin], [bendout] and [xbendin] [xbendout] objects.
And BTW, [ftom] understands floats.

_____________________________
Patrick Delges

Centre de Recherches et de Formation Musicales de Wallonie asbl
http://users.skynet.be/crfmw/max


On 7-Jun-2006, at 12:04, pascal baes wrote:

> I'm not musician at hall, but, I feel to mutch pollution and 

> desinformation from tempered automatised musik.

MIDI can be stupid, but it doesn't have to be.

For that matter, the 12-tone tempered scale doesn't have to be stupid 

either. There are still people doing creative things with tempered 

I don't think we've reached the stage where we need to throw out the 

Peter Castine +--> Litter Power & Litter Bundle for Jitter

iCE: Sequencing, Recording & |home | chez nous|

Interface Building for |bei uns | i nostri|

> I'm not musician at hall, but, I feel to mutch pollution and  
> desinformation from tempered automatised musik.

For that matter, the 12-tone tempered scale doesn't have to be stupid  
either. There are still people doing creative things with tempered  
materials.

I don't think we've reached the stage where we need to throw out the  
baby with the bathwater. Yet.

--------------    http://www.bek.no/~pcastine/Litter/    -------------
Peter Castine             +--> Litter Power & Litter Bundle for Jitter

Hey, dissident de la pataphysique, use Rtcmix~ scores and pitches; you 

can generate way beyond a quarter-tone, and it sounds really great. Or 

forget about midi. Build your own resonance model. Leave xenakis resting 

f.e chanfrault | aka | personal computer music

> >>>>>> |sublime music for a desperate people|

Hey, dissident de la pataphysique, use Rtcmix~ scores and pitches; you 
can generate way beyond a quarter-tone, and it sounds really great. Or 
forget about midi. Build your own resonance model. Leave xenakis resting 
in peace.

f.e chanfrault | aka | personal computer music
> >>>>>> http://www.personal-computer-music.com
> >>>>>> |sublime music for a desperate people|


It's not because Bach is dead that his music isn't unexcelled. We've 

been suffering 50 last years of annoying non-music, made without soul 

and worse, without dick. It's like claiming Robbe-Grillet is a savior in 

2006. Indeed, outside Butor, Duras, Perec, Roubaud, better go back to a 

Especially in France, so-called "intellectuals" did some sort of 

macCarthy's witch hunt, litteraly destroying every composer who dare 

doing tempered music. To provide what ? Manoury ? Dusapin ? Lachenmann ? 

Remember Boulez said once, everybody will whistle dodecaphonic music in 

the street. Ha ha ha. And now, partly because of his fault, they whistle 

It's not because Bach is dead that his music isn't unexcelled. We've 
been suffering 50 last years of annoying non-music, made without soul 
and worse, without dick. It's like claiming Robbe-Grillet is a savior in 
2006. Indeed, outside Butor, Duras, Perec, Roubaud, better go back to a 
good "tempered" novel :-)
Especially in France, so-called "intellectuals" did some sort of 
macCarthy's witch hunt, litteraly destroying every composer who dare 
doing tempered music. To provide what ? Manoury ? Dusapin ? Lachenmann ? 
hi hi hi ...

Remember Boulez said once, everybody will whistle dodecaphonic music in 
the street. Ha ha ha. And now, partly because of his fault, they whistle 
Britney Spears instead.

> Remember Boulez said once, everybody will whistle dodecaphonic music 

> in the street. Ha ha ha. And now, partly because of his fault, they 

Not to be flamebait, but what percentage of the population heard 

Beethoven's music in his day? I'm not certain that Classical music was 

necessarily popular music in the sense that we think of it. Bach 

might have been lost to history if it weren't for Mendelssohn's 

resurrection of Bach's St. Matthew Passion. (at that time 99% of all 

music in concerts was new music. If there's something to be nostalgic 

Yes, there was an awful lot of dogma posited regarding dodecaphonic 

music. On the other hand, I've also heard plenty of neo-tonal 

sentimental crap as well (I'm looking at you, Mr. Del Tredici). If you 

want to make an omelette, you've got to break some eggs. Personally, 

I'd rather hear a failed experiment than another "String Quartet in D 

minor Opus 1" from one of my students, mainly because the first one is 

more likely to force them to step out of their sphere of experience 

than the second one, and I think that's important for learning. (the 

same way you study Palestrina style counterpoint even if you write 

> Remember Boulez said once, everybody will whistle dodecaphonic music 
> in the street. Ha ha ha. And now, partly because of his fault, they 
> whistle Britney Spears instead.

Not to be flamebait, but what percentage of the population heard 
Beethoven's music in his day?  I'm not certain that Classical music was 
necessarily popular music in the sense that we think of it.   Bach 
might have been lost to history if it weren't for Mendelssohn's 
resurrection of Bach's St. Matthew Passion.  (at that time 99% of all 
music in concerts was new music. If there's something to be nostalgic 
for as a composer, it's that!)

Yes, there was an awful lot of dogma posited regarding dodecaphonic 
music.  On the other hand, I've also heard plenty of neo-tonal 
sentimental crap as well (I'm looking at you, Mr. Del Tredici).  If you 
want to make an omelette, you've got to break some eggs. Personally, 
I'd rather hear a failed experiment than another "String Quartet in D 
minor Opus 1" from one of my students, mainly because the first one is 
more likely to force them to step out of their sphere of experience 
than the second one, and I think that's important for learning.  (the 
same way you study Palestrina style counterpoint even if you write 
non-tonal music)

>> Remember Boulez said once, everybody will whistle dodecaphonic music 

>> in the street. Ha ha ha. And now, partly because of his fault, they 

> Not to be flamebait, but what percentage of the population heard 

I'm sure more than we think. Problem is i often understand why "common" 

people (in the sense of Pulp's song) dislike contemporary music when 

it's 90% redone experiences (we have done all with instruments, i f i 

may say) that have no sense at all : caricatural horns & trumpets shots, 

obligatory dissonant and quicky themes, etc...

> I'm not certain that Classical music was necessarily popular music 

> in the sense that we think of it. Bach might have been lost to 

> history if it weren't for Mendelssohn's resurrection of Bach's St. 

> Matthew Passion. (at that time 99% of all music in concerts was new 

> music. If there's something to be nostalgic for as a composer, it's 

> Yes, there was an awful lot of dogma posited regarding dodecaphonic 

> music. On the other hand, I've also heard plenty of neo-tonal 

> sentimental crap as well (I'm looking at you, Mr. Del Tredici). If 

> you want to make an omelette, you've got to break some eggs. 

> Personally, I'd rather hear a failed experiment than another "String 

> Quartet in D minor Opus 1" from one of my students,

I agree, but what about music that is not anti-tonal nor 

anti-anti-tonal ? Boulez, again, wrote we must not leave behind 2000 

years of music history just because we've discovered something new...

> mainly because the first one is more likely to force them to step out 

> of their sphere of experience than the second one, and I think that's 

> important for learning. (the same way you study Palestrina style 

> counterpoint even if you write non-tonal music)

Palestrina is perfect for writing non-tonal music : at least they learn 

Peter McCulloch wrote:
>> Remember Boulez said once, everybody will whistle dodecaphonic music 
>> in the street. Ha ha ha. And now, partly because of his fault, they 
>> whistle Britney Spears instead.
>
> Not to be flamebait, but what percentage of the population heard 
> Beethoven's music in his day?
I'm sure more than we think. Problem is i often understand why "common" 
people (in the sense of Pulp's song) dislike contemporary music when 
it's 90% redone experiences (we have done all with instruments, i f i 
may say) that have no sense at all : caricatural horns & trumpets shots, 
obligatory dissonant and quicky themes, etc...
>   I'm not certain that Classical music was necessarily popular music 
> in the sense that we think of it.   Bach might have been lost to 
> history if it weren't for Mendelssohn's resurrection of Bach's St. 
> Matthew Passion.  (at that time 99% of all music in concerts was new 
> music. If there's something to be nostalgic for as a composer, it's 
> that!)
>
> Yes, there was an awful lot of dogma posited regarding dodecaphonic 
> music.  On the other hand, I've also heard plenty of neo-tonal 
> sentimental crap as well (I'm looking at you, Mr. Del Tredici).  If 
> you want to make an omelette, you've got to break some eggs. 
> Personally, I'd rather hear a failed experiment than another "String 
> Quartet in D minor Opus 1" from one of my students,
I agree,  but what about music that is not anti-tonal nor 
anti-anti-tonal ? Boulez, again, wrote we must not leave behind 2000 
years of music history just because we've discovered something new...
> mainly because the first one is more likely to force them to step out 
> of their sphere of experience than the second one, and I think that's 
> important for learning.  (the same way you study Palestrina style 
> counterpoint even if you write non-tonal music)
Palestrina is perfect for writing non-tonal music : at least they learn 
structure :-)

Sorry for coming late to this exeptionel interesting thread...

> Yes but "Bach is dead", and Xenakis half reBorn... can be interesting

> to use that qtmusic , but, pitched, de=tempered, as wave synthetiseur

> can replay any frequency, at any speed, not only tempered . some body

> now how to make glissandi with that virtual-midi-qt synth? Need to

> re-inject ABCDEFG midi note into msp to generate a continuum of 

All Midi ceneterd synths are par default event centered. And the BIG

difference between Xenakis and the (still) traditional way of composing,

is that he crossed the border to the continuum. This is a completely

Yes you can "bend" the use of Midi synthesizers to achieve this: By

defining events which have continuous parts inside the synth (certainly

none of the existing GM synths should be considered), but you are always

forced into a way of thinking based on events.

Better you pull out the full potential of Max and create your own UPIC.

(Its still on my todo list, but as we do have the original here... ;-)

> Or, I mised some steps? It's to keep every body ignorant about

> Xenakis work, that midi scale take place? (see l'"UPIC" for eg, or

> try to dive in "theorie des cribles" (Peano/Xenakis 1955) It seem's

> so mutch people there have big respect for automatised tempered

> musik> Sumum of stupidity(commercialAndPerformative) is to generate

> tempered musik from cellular automaton... Your problem is to respect

> comon sens, what artist don't because they can carry to show crasy...

I stopped using synths that I didn't create myself for quite a long time

pascal baes wrote:
> Yes but "Bach is dead", and Xenakis half reBorn... can be interesting
> to use that qtmusic , but, pitched, de=tempered, as wave synthetiseur
> can replay any frequency, at any speed, not only tempered . some body
> now how to make glissandi with that virtual-midi-qt synth? Need to
> re-inject ABCDEFG midi note into msp to generate a continuum of 
> frequency?

All Midi ceneterd synths are par default event centered. And the BIG
difference between Xenakis and the (still) traditional way of composing,
is that he crossed the border to the continuum. This is a completely
overseen fact.

Yes you can "bend" the use of Midi synthesizers to achieve this: By
defining events which have continuous parts inside the synth (certainly
none of the existing GM synths should be considered), but you are always
forced into a way of thinking based on events.
Better you pull out the full potential of Max and create your own UPIC.
(Its still on my todo list, but as we do have the original here... ;-)

> Or, I mised some steps? It's to keep every body ignorant about
> Xenakis work, that midi scale take place? (see l'"UPIC" for eg, or
> try to dive in "theorie des cribles" (Peano/Xenakis 1955) It seem's
> so mutch people there have big respect for automatised tempered
> musik> Sumum of stupidity(commercialAndPerformative) is to generate
> tempered musik from cellular automaton... Your problem is to respect
> comon sens, what artist don't because they can carry to show crasy...

I stopped using synths that I didn't create myself for quite a long time
(and was tweaking the DX 7 a lot).
I am missing nothing at all...

-- 
Stefan Tiedje------------x-------
--_____-----------|--------------
--(_|_ ----|-----|-----()-------
-- _|_)----|-----()--------------
----------()--------www.ccmix.com


> if ftom and qtInstrument can understand float, and not only integer, 

> like mtof, then midi get like :12 "midiUnit" = 1200 cents, then, can 

> play a little with "theory of crible" concept...

ftom does understand float, but Midi doesn't....

(I made a little cent to frequency abhaXion "ctof" to achiev this)

My way to let Midi instruments play quarter notes or 16th notes: send 

any detuned part to a seperate Midichannel with a perfectly set 

pitchbend information. Unfortunately its very dependent on the synth, as 

you have to set the range of the pitchbend in the synth correctly.

pascal baes wrote:
> if ftom and qtInstrument can understand float, and not only integer, 
> like mtof, then midi get like :12 "midiUnit" = 1200 cents, then, can 
> play a little with "theory of crible" concept...

ftom does understand float, but Midi doesn't....
(I made a little cent to frequency abhaXion "ctof" to achiev this)
My way to let Midi instruments play quarter notes or 16th notes: send 
any detuned part to a seperate Midichannel with a perfectly set 
pitchbend information. Unfortunately its very dependent on the synth, as 
you have to set the range of the pitchbend in the synth correctly.

> Remember Boulez said once, everybody will whistle dodecaphonic music in 

> the street. Ha ha ha. And now, partly because of his fault, they whistle 

The fault was not the not so important meaning of a specific composer, 

the fault was to give one composer all the power to kill the rest.

In the end its a political question and not so much an aesthetical.

A composer/musician does need a distinct taste. And also the need for a 

perspective which is "different" than that of others.

I always thought the concept of dodecaphonic music was weak (why not 

19-phonic or x-phonic), but that Schoenberg invented a completely new 

set of rules was something new at his time. Sticking to it seems as 

limiting as sticking to any other rule, but if I stick to something 

existing, I'd prefer the strongest set of rules I know, but thats a 

f.e wrote:
> Remember Boulez said once, everybody will whistle dodecaphonic music in 
> the street. Ha ha ha. And now, partly because of his fault, they whistle 
> Britney Spears instead.

The fault was not the not so important meaning of a specific composer, 
the fault was to give one composer all the power to kill the rest.
In the end its a political question and not so much an aesthetical.
A composer/musician does need a distinct taste. And also the need for a 
perspective which is "different" than that of others.

I always thought the concept of dodecaphonic music was weak (why not 
19-phonic or x-phonic), but that Schoenberg invented a completely new 
set of rules was something new at his time. Sticking to it seems as 
limiting as sticking to any other rule, but if I stick to something 
existing, I'd prefer the strongest set of rules I know, but thats a 
matter of taste (and cultur)...

>>if ftom and qtInstrument can understand float, and not only 

>>integer, like mtof, then midi get like :12 "midiUnit" = 1200 cents, 

>>then, can play a little with "theory of crible" concept...

>ftom does understand float, but Midi doesn't....

>(I made a little cent to frequency abhaXion "ctof" to achiev this)

>My way to let Midi instruments play quarter notes or 16th notes: 

>send any detuned part to a seperate Midichannel with a perfectly set 

>pitchbend information. Unfortunately its very dependent on the 

Soft Synth?